【作者】 张剑鸣；

【导师】 张福贵；

【作者基本信息】 吉林大学 ， 中国现当代文学， 2013， 博士

【摘要】 在中国百余年的电影艺术史中，商业电影是一个重要的组成部分。过去由于种种原因，没有重视对中国商业电影传统及经验的研究，这不能不说是中国电影研究的一个缺憾。随着票房成绩和社会影响力的提高，商业电影逐渐引起了人们的重视。商业电影是一个相对的概念，通常指以获利为主要或唯一的创作目的的电影。商业电影把尽可能大量的观众作为争取的目标，在本质上是观众的电影。商业电影有如下几个要素：一是在制作目的上主要着眼于商业利益；二是在制作方式上是模式化的，从而形成特定的套路和类型；三是注重观众的观赏兴趣和营销宣传。商业电影有着不同于艺术电影的形式特征和创作规律，需要形成相对稳定的模式，以便投资、制作、发行等体系形成相对稳定的机制。如何有效的推动商业电影的生产与创作，遵循世界电影通行的产业规律，并在此基础上建立起有中国特色的市场体系，从制度上保证商业电影的生产及商业化运作，是中国商业电影发展需要面对的问题。本文以商业电影实践为基础，以好莱坞的电影工业为借鉴，通过分析不同时期有代表性的商业电影类型，阐述中国商业电影的发展与电影市场的演变及电影产业化的历程。并进一步分析商业电影特殊的深层结构、表意策略、叙事方式、形式风格及观众的心理反应模式等等。论文的总体结构包括前言、正文五章和结语共七个部分。前言部分，从研究课题涉及的几种概念入手，围绕概念提出将要探讨的问题及研究的意义。继而阐明研究思路、论文结构和理论参考依据。第一章主要关注中国早期商业电影的历史现象，从历史源头梳理中国商业电影传统的生成发育过程。从早期电影的萌芽、商业运作以及类型电影的创作热潮等方面对中国早期商业电影进行分析。我国早期商业电影从初创到成长、成熟与发展，既伴随着艺术上的摸索与追求，也伴随着市场观念的演变与运营模式的建立。中国最早的故事片在市场化和商业化运作以及叙事等方面都达到了相当高的水准。这一切，都为商业电影的发展积累了丰富的创作和生产经营管理经验。中国早期商业电影一直是在市场化条件下，在好莱坞电影占据了大部分市场份额的情况下，艰难地生存和发展。商业电影在本质上作为一种观众的电影，具有面向观众的叙事规范和目的。一定的商业电影类型，本质上就是电影与观众经过反复磨合形成的一种契约关系。早期商业电影的重要贡献之一就是建立了一系列有民族特色的电影类型。古装片、武侠片和神怪片在电影史上第一次形成了大规模的商业电影浪潮，其影响一直绵延至今。第二章从改革开放后，电影体制的改革入手，探讨商业电影观念的复苏和电影娱乐功能回归的曲折历程以及电影市场的变化。阐述新时期商业电影复兴的成就，即由中国的商业类型电影热潮的兴起，说明市场经济、电影体制改革是商业电影复兴的基础；电影观念的改变，发展类型电影是商业电影可持续发展的关键。新中国建立后，开始实行社会主义计划经济，商业电影失去了其存在的基础，从此绝迹于中国大陆。1978年以后，中国电影在整个社会转型的背景下，在电影体制方面逐步向市场经济体制过渡，在电影观念和创作方面逐步为商业电影的意识所渗透。到80年代中期，娱乐片的产量呈上升趋势。在娱乐片的名义下，武打片、爱情片、喜剧片等商业类型电影开始复苏，并逐渐形成创作热潮。但以满足观众观赏快感为目的的商业电影创作遭到了主流电影批评的否定。商业娱乐片在市场上的成功与在主流批评话语中的失落，形成了鲜明的反差。电影商业化成为一个学习和试验的过程。90年代初，电影市场萎缩，电影管理改革进展缓慢。从1993年开始，电影业走上了市场化改革之路。1993年至1994年的电影体制改革打破了统购统销的发行体制，扩展了电影的消费市场。1995年，下降趋势明显缓解，电影市场开始升温，大投入、高回报的商业类型片逐渐增多。《红粉》、《阳光灿烂的日子》、《红樱桃》等一批影片在市场上显示出与进口大片分庭抗礼的实力，构成了世纪末电影市场的一道景观，也促成了所谓中国“大片”的诞生。第三章阐述新世纪商业大片的形成过程，崛起的时代背景，有代表性的几种大片类型的成就与创新。重点剖析古装武侠大片、现当代历史题材大片和主旋律大片在传承基础上，对商业电影的新发展、新成就。进而阐明商业电影的运作不仅仅涉及影片本身的商业性，还涉及到前后的整个过程和相关联的诸多方面。说明重视电影剧本策划，实行有中国特色的明星制，进一步提高电影制作的技术水平，重视营销机制建设并强化营销宣传，建立合理的产业结构，是国产商业电影可持续发展的重要举措。商业性作为电影的本性在旧的电影体制中曾经暂时的迷失，在电影大踏步走向市场之后，它的问题才充分暴露并日益显得严峻。电影观念的更新不能只停留在美学层面和文化层面，更应该延伸到经济层面，应建立起与市场经济，尤其是与电影市场化相符合的电影产业观念。大片真正让电影成为市场化、专业化的文化产业，在艺术模式、资本运作和产业经营上使中国电影逐步向产业化迈进，并形成了一种势不可挡的创作热潮。中国式商业大片的成功推动了中国电影产业的升级与调整，大大提高了中国电影的国际竞争力。而迅速发展有市场竞争力和影响力、能够有效地提高文化软实力的主流大片，对推进中国电影产业化发展具有特别重要的意义。第四章从电影与受众的审美关系入手，阐述商业电影要实现市场化生存，必须以电影观众为本体。“观众本体”观念就是以观众为核心，使电影的制作、发行、放映都紧紧围绕观众，以争取更多的受众、获得更大的利益。商业电影需要把满足观众需求作为基本的价值取向，建立起以观众为中心的运作体系。在这个过程中既要顺从观众，也要因观众而变。也就是既适应受众，又超越受众，最终掌握受众的反馈，创造新的适应。这样才能不断激发观众的兴趣，积累观众的期待。中国商业电影创作要进一步贴近电影产业化和观众观赏快感的要求，从以表达自我为中心过渡到以观众为中心，最终实现艺术与商业的平衡。第五章从全球化的时代背景入手，说明其对中国商业电影迈出国门，进行跨文化传播的重要意义，进而阐明中国商业电影走向世界的途径和策略。随着全球化的进展，中国电影市场日益成为国际市场的组成部分，这使得中国商业电影在不同的市场面前呈现出文化策略的多样化。一是民族文化与世界文化相融合，找到中外文化的共通之处，构建民族性与普世价值互融的文化时空，创造人类共同价值基础上的文化共鸣。二是商业性与艺术性有机统一，二者的结合是中国商业电影走向世界的有效途径。三是立足本土，放眼全球，通过做大做强本土市场，来唤起国际市场的注意，最终实现中国电影“走出去”的全球化战略。四是整合营销全面推广策略。新世纪商业大片拓展了中国电影的市场空间，逐渐进入韩国、日本和其他亚洲国家市场，甚至还打入了欧美主流院线市场。中国应该抓住国际社会渴望了解中国的历史机遇，扩大中国电影的海外宣传力度，努力开发海外电影市场。结语部分，通过回顾以往中国商业电影的演变发展历程，及所取得的成就，总结出规律性的经验和结论，展望未来的任务与前景。中国商业电影的市场化发展还处在一个不断探索和完善的过程中，中国电影的政策调整和改革仍在继续。认真研究其中的经验和教训，不仅有助于我们更全面地认识与评价中国电影的历史，而且有助于我们更好地理解与把握中国电影未来的命运走向。更多还原

【Abstract】 In the film history over the past hundred years, China has witnessed the ups anddowns of movie thoughts, the variety of films and the riches of historian films. Butthere is still virgin land to be developed for specialized system research oncommercial films. Chinese film has a deep tradition of realism, and to some extent, itrepresents the direction and artistic level of the Chinese film. However, in quantity,commercial films occupy an important position. In the past, due to various reasons,there is no emphasis on studies on the Chinese tradition and experience in commercialfilm, which is a shortcoming of Chinese cinema research. In the21st century, thecommercial film has not only become the general consensus of the public and the elitebut also the new mainstream film. Faced with the threats and challenges ofHollywood, Chinese commercial film must do something in order to keep a goodlocal domestic film market, expand international influence and open up ways to theworld. Therefore, this dissertation chooses the Chinese commercial films as itsresearch field, tries to adopt the viewpoint of interdisciplinary research, utilizes thepractice of commercial film as a base, and, finally explores the rise and fall as well asthe evolution law of Chinese commercial films, in order to give reference for thefurther development of Chinese commercial films.The overall structure of the thesis is composed of seven parts, includingintroduction, five chapters and the conclusion. In the introduction, the dissertationbegins with several concept, and proposes the problems and significance of the studyon the basis of the concept. Then it further clarifies the research ideas, paper structure,theoretical foundation and reference.The first chapter analyzes the early commercial films from the market,commercial operation, as well as narrative and other aspects. China’s earlycommercial films evolved from inception to growth, maturation and development,which is accompanied by both artistic exploration and pursuit as well asmarket-oriented business operation. China ’s first feature film have reached a veryhigh standard in the commercialized operations and narrative. Before1949, China was under the condition of commercial film market. With the Hollywood films occupyingmost of the market share, China struggled to survive and develop by virtue of thenarrative mode of facing the audience and with the premise of satisfying theaudience’s viewing pleasure. One of the important contributions of early commercialfilms is to establish a series of national characteristics of the film type. Commercialfilms, in essence as a viewer’s film, has to narrate to the audience. Some certaintypes of commercial films, in essence, is a contractual relationship between the movieand the audience after repeated run-in. The establishment of type has importantsignificance for the development of commercial films.The second chapter is the focus of this dissertation. From the perspective of thereform on the movie enterprise, it explores and summarizes the tortuous course of theconcept of commercial movie recovering as well as the return of movie entertainmentfunctions. Next, it clarifies the impact of marketing on the role of commercial films.Then it continues to explain the achievements of the commercial film renaissance.That is, based on upsurge of the China’ s commercial film, it indicates that the marketeconomy and the revival of film reform is the foundation of commercial films, andthat the changing of attitudes toward film, the focus on the audience for the body andthe development of a commercial films are key to sustainable development.The third part is also the focus of this dissertation. It explains the formation oflarge commercial in the new century, the rise of the historical background, and theachievements and innovations of several types of large representative. Further itclarifies the value of domestic commercial blockbusters and the strategies forsustainable development, indicating that screenplay planning should be emphasized,the star system with Chinese characteristics should be implemented, the technicallevel of filmmaking should be further improved, promotion and marketing should beput priority on, and that reasonable industrial structure should be established, whichare the important initiatives to sustainable development of the domestic commercialblockbusters.Chapter IV, starting from the era of globalization background, indicates that theimportant guiding significance for Chinese commercial film to be taken abroad andcross-culturally communicated. It further clarifies the channels and strategies ofChinese commercial movie to the world guided by integrating marketingcommunication, involving the strategy of integrating national culture and worldculture, the strategy of uniting commercial and artistic organically, the strategy of strengthening cooperation on film and “borrowed boat”, the strategy of focus on boththe local and the world, and promotion strategies of integrating comprehensivemarketing.The fifth chapter explores the ultimate goal of film marketing is to satisfy theaudience from the term of communication and marketing. It further elaborates ways toreach audiences satisfaction from perspective of the aesthetic relationship betweenmovie and the audience: First, it is acquainted with audience as well as adapted to theaudience; Second, it is both beyond the audience, but also improves the audience; thethird is to master the audience feedback, and create new adaptation. Finally, it revealsthat the audience satisfaction is the lifeblood of commercial films, and the increasedlevels of audience’s film culture is the decisive factor for the further prosperity of thecommercial film.In the conclusion, it recalls the development process and achievements ofChinese commercial film, sums up the experience of regularity and conclusions,answer questions raised in the introduction and look forward to the tasks andprospects for the future。更多还原